FBPO Review
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State of Art
Ben Williams
Audio CD
It’s always inspiring to see praise and recognition bestowed upon artists who truly stand out among their peers. Ben Williams has created quite a buzz in the jazz world, having gained invaluable experience playing with the likes of Stefon Harris, Wynton Marsalis, Terence Blanchard, Pat Metheny, Roy Hargrove, Mulgrew Miller and Cyrus Chestnut.
Williams received additional accolades as he claimed first prize in the 2009 Thelonious Monk International Bass Competition. As an increasingly well-established rising star in the music world, Ben Williams has now stepped out on his own with the release of his debut album, State of Art, which hit the streets June 28, 2011, on the Concord Jazz label.
With State of Art, Williams deftly demonstrates his musical maturity as a player, composer and arranger in this varied, yet cohesive collection of tunes. Joining Ben is a more-than-capable group of peers, including Marcus Stickland on tenor and soprano sax, Matthew Stevens on guitar, Gerald Clayton on keyboards and Jamire Williams on drums. Also making appearances on three tracks is alto and soprano saxophonist Jaleel Shaw.
The album’s opener, “Home,” a Williams original, sets the tone with a funky guitar riff played over an authoritative drum groove, the rest of the band coming in one instrument at a time. The Rhodes keyboard and modal harmonic framework give the tune a ’70s feel.
That ’70s sound continues on “Moontrane,” again making use of the Rhodes, reminiscent of the Grover Washington Jr. classic, “Mr. Magic.” Ben’s bass solos are strong, confident, melodic and, most notably, impeccably in tune.
Mingling an appreciation for pure jazz with today’s contemporary sounds is “The Lee Morgan Story,” where jazz meets hip-hop and rap. DJ/rapper John Robinson “raps” Lee Morgan’s whole biography, with trumpeter Christian Scott playing homage to Morgan throughout.
Ben stretches out a bit more in “Dawn of a New Day,” over the bouncy undercurrent of the rhythm section, where Clayton switches to acoustic piano. As a leader, Ben gives plenty of space to the rest of the band, regularly featuring sax, guitar and piano throughout the album.
Williams’ soloing ability is showcased in an unaccompanied intro to Michael Jackson’s “Little Susie,” setting up a funky, edgy, triple-meter groove with the aid of Etienne Charles’ percussion. This tune, arranged by Williams, also features a string quartet, blending beautifully with the rest of the band. (“Little Susie,” by the way, sounds nothing like the Everly Brothers, but does, however, bear an occasional resemblance to “Sunrise, Sunset”!)
“November” is a jazzier, breezier tune with a latin groove, featuring saxophone and guitar. Ben’s playing is stronger and faster than on the previous tunes. Here he really shows off his powerful upright chops.
Williams’ arranging ability is highlighted once again in his very original interpretation of Stevie Wonder’s “Part-time Lover.” In this slow-tempo version, the sax takes the melody on the verse, the guitar on the bridge, all the while the bass and drums playing four-to-the-bar. Ben takes a few liberties with the harmonies during the reprise, injecting his uniqueness and personal touch.
The string quartet is back on “Things Don’t Exist,” a gorgeous arrangement by Ben, also featuring acoustic piano and saxophone. The tune was penned by Bay Area soul singer Goapele and this recording is nothing short of stunning!
Next is another Ben Williams original, “Mr. Dynamite,” a tribute to James Brown. The acoustic piano and horn melody capture that ’50s-’60s funky feel. Ben pulls out all the stops with an aggressive, in-the-pocket arco solo.
For the album’s closer, the classic, “Moonlight in Vermont,” Williams switches to electric bass, beginning with an intricate intro of double and triple stops. Ben’s arrangement is very quiet and often understated, an entirely different feel from what many of us have come to know from the standard jazz repertoire. The acoustic piano and guitar capture the mood brilliantly.
Ben’s choice of bandmates accentuates the fire and enthusiasm he exudes as an up-and-coming jazz lion. “I’m always looking for guys who are team players, who are great players, but know how to elevate the whole band,” Williams says. “They play in a way that makes everybody else around them sound better, but also bring their own voice to the music.”
Having successfully completed his initiation as a newbie in the often cut-throat jazz milieu, Ben Williams is now very much his own man. With State of Art, he exhibits formidable prowess as a bassist, writer, arranger and bandleader. If State of Art is just the beginning, there’s no telling what else we can expect from Ben Williams throughout his career. One thing’s for sure: He’s definitely one to watch.
Review by Jon Liebman
State of Art is available here
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Also see our exclusive one-on-one with Ben Williams here. |